


Zootopia: et Sequelae 1

by wrgarou



Series: Zootopia Between the Times [3]
Category: Zootopia (2016)
Genre: F/M, Fluff, Fluff and Angst, Fluff and Smut, Humor, Interspecies Relationship(s), Police Procedural, Screenplay/Script Format, ZPD - Freeform
Language: English
Status: In-Progress
Published: 2021-03-10
Updated: 2021-03-10
Packaged: 2021-03-16 15:49:12
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 6
Words: 10,738
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/29952300
Author URL: https://archiveofourown.org/users/wrgarou/pseuds/wrgarou
Summary: This work is a series of vignettes related to the Zootopia 'world,' involving many of the canonical characters of the Disney works, and many of the characters from the Between the Times series by this author.In the timeframe of this series, both Nick and Judy have advanced in their careers in the ZPD and are openly in a relationship.  This time is approximately three years after the end of the first movie.
Relationships: Judy Hopps/Nick Wilde
Series: Zootopia Between the Times [3]
Series URL: https://archiveofourown.org/series/2157180
Comments: 3
Kudos: 2





	1. episode 1: Nick at bat

**Author's Note:**

> The story continues: Judy and Nick progress in their careers and their relationship. Judy is a sergeant in the ZPD, and is a detective working with Det. Virgil Jones of the ZPD's First Detectives. Nick is still a cop, having somehow avoided the worst of Chief Bogo's wrath, and has established a position that should lead to promotion to Detective.
> 
> They're still involved, still in love and still living in their own separate apartments in Savanna Central. For one brief three-day weekend, they have the same objective: get out of town and relax a bit. This coincides with Judy's parents' 30th anniversary, the annual Leonid meteor shower, and the full moon at perigee.
> 
> dramatis personae: 
> 
> Judy Hopps  
> Nick Wilde  
> Hopps family, including Stu, Bonnie, Violet, and others

**Summary for the Chapter:**

> Nick and Judy visit the Hopps home warren to celebrate her parents' 30th wedding anniversary.

**Notes for the Chapter:**

> dramatis personae: 
> 
> Judy Hopps  
> Nick Wilde  
> Hopps family, including Stu, Bonnie, Violet, and others

[episode 1 act 1]  
[bookmark 1-1-1]

  
INT. TRI-BOROUGH LOCAL train (which is the Zootopia Express outbound), observation deck, 3/4 lateral focus on JUDY and NICK: JUDY is looking outward through the canopy, of course. NICK stands behind her, arms around her, hands over hers.

JUDY (gazing outward):  
This never gets old for me. I could take this train every day and still be amazed.

[// artistic note: Judy is wearing a button-up red gingham check blouse; this becomes relevant later.]

\-----

AS SEEN FROM THE OUTSIDE OF THE OBSERVATION DOME: 

JUDY (to NICK):  
Is this exciting to you at all? You've probably seen every square centimetre of Zootopia from every angle.

NICK:  
No matter...

\-----

NICK closes his arms around JUDY and rests his head atop hers between her ears.

NICK:   
I haven't seen all of it with you.

JUDY (smiling):  
You're in an awfully cuddly mood today...

NICK:  
Are you complaining?

JUDY:  
Not one bit.

\-----

EXT. the train, from a bit of a distance:

JUDY (narrative):  
...and now endless hectares of countryside.

\-----

INT. TRAIN, framing in bookmark 1-1-1:

JUDY (smiling):  
Home.

NICK (also smiling):  
I'm glad we pulled a three-day weekend together.

JUDY:  
I think Bogo is happy to have us out of the house for an extra day. 

\-----

NICK:  
That's a two-way street, you know.

JUDY (rolling her eyes, expressing some irritation):  
He's a good man, Nick. You have no idea.

\-----

The overhead loudspeaker announces the first stop.

PA SPEAKER:  
Next stop, Bunnyburrow.

JUDY (wistfully):  
Home.

NICK (growling quietly):  
{nrRr...}

\-----

NICK and JUDY take up their bags and head toward the lower deck.

JUDY (regarding NICK):  
What was that about?

NICK (blankly):  
Nothing.

JUDY:  
You're a terrible liar, mister.

\-----

EXT. the train at the Bunnyburrow station: the doors open, they disembark.

JUDY to NICK (with some concern):  
What's in you? You were all snuggly just a moment ago.

NICK:  
Nothing.

VOICE OUT OF FRAME:  
Judy! Nick? 

\-----

VIEW from behind JUDY and NICK: a male rabbit, heavy mesomorphic, light tan agouti with no markings, wearing a green checked shirt and denim overalls, waves to them.

MALE RABBIT (waving):  
Hey you all!

JUDY (waving back):  
Hey Aaron!

\-----

LATERAL VIEW, NICK and JUDY walk toward AARON.

JUDY:  
Dad didn't say who was going to pick us up, but I thought you were out of town.

AARON:  
We finished the job early, I'm back at the warren for a week.

\-----

JUDY (turning to NICK, indicating AARON):  
Nick, my brother Aaron. He's in construction.

AARON (extending a hand to NICK):  
Pleasure, sir. Judy's only described you to me.

NICK (taking AARON'S hand):  
Only favorably, I hope.

\-----

AARON takes their bags and walks toward the parking lot. JUDY and NICK follow.

AARON:  
I guess so, she said you were a solid man and a thick ginger with emerald eyes. I didn't know you were a fox until later, heh!

JUDY (interjecting):  
Because that's not relevant.

AARON:  
'Course not. Truck's this way.

\-----

They approach the right side of the Hopps' pickup truck (seen in the first film).

NICK to JUDY (indicating AARON):  
So, a brother brother, or a cousin brother?

JUDY:  
Direct brother by our parents' third litter. He's not usually around the warren.

AARON to both:  
Plumbers are there now. Judy, a little help?

\-----

JUDY takes their bags as AARON opens the passenger side door.

AARON:  
All aboard the Warren Express.

\-----

INT. the truck: JUDY and NICK stow their bags under the bench and get into the truck. AARON enters from the left. NICK looks the slightest bit uneasy. JUDY has noticed this.

JUDY to NICK (sotto voce):  
Nick, what's gotten into you?

NICK (sotto voce):  
Nothing.

AARON has noticed as well.

\-----

EXT HOPPS WARREN, on the front porch: AARON, JUDY and NICK are at the font door. BONNIE HOPPS has opened the door to them, STU HOPPS is right by her side. 

BONNIE (with a bright expression):  
There's my girl!

JUDY (also brightly):  
Mom, dad!

BONNIE:   
Well come in, why don't you!

\-----

INT. HOPPS WARREN, front parlor: BONNIE and JUDY embrace. 

STU:  
Nick, welcome back! Always good to see you!

NICK (sincerely):  
Good to be here, Stu.

\-----

A swarm of rabbit children enter the scene, enthusiastically leaping toward them all. One child, a very young male with a deep brown to black coat, runs to glomp JUDY.

DARK-MALE-CHILD:  
Mama Judy!

NICK (puzzled):  
...mama?

\-----

JUDY picks up DARK-MALE-CHILD.

JUDY to NICK:  
You would call me Jethro's aunt, but our family relations are a bit different. I'm a mama, but not a mother. 

JETHRO (pointing to NICK):  
Nick.

\-----

NICK still has a puzzled look on his face.

NICK to JETHRO (distractedly):  
{I'm always reminded how different you are.} Yeah I'm Nick.

JETHRO (smiling):  
Your tail, fluffy! Mama Judy said.

JUDY to NICK:  
Jethro is the son of my sister Helen. You might have to slow down a bit for him.

\-----

NICK is still a bit puzzled.

NICK to JUDY:  
Sister, in-law or cousin 'sister?'

JUDY (putting JETHRO down):  
You'll get the hang of it.

STU:  
Make yourselves at home! Can we get you anything?

\-----

JUDY (regarding her parents):  
Wow, thirty years.

BONNIE (leaning into STU):  
Thirty wonderful years.

STU:  
True words.

\-----

STU (in reflection):  
Thirty years of blissful consistency.

NICK (holding JUDY's hand):  
Not to interrupt, but where can I drop our bags?

\-----

STU (regarding NICK askance, raising an eyebrow):  
Judy's old room, same as last time.

JUDY (almost scowling at NICK):  
Mom, dad: can I take Nick there. Please?

\-----

STU and BONNIE both notice that JUDY clearly wants to get Nick out of the upstairs parlor.

BONNIE and STU (simultaneously, with sincerity and a sense of urgency):  
Yes, please do.

JUDY clenches NICK'S hand tightly. NICK winces in pain. 

JUDY (scowling at NICK):  
Excuse us. We'll be back for the bags in a moment.

\-----

INT. the hallway outside JUDY'S OLD ROOM, from the perspective of behind JUDY and NICK, facing the door at an angle: JUDY has NICK'S arm folded behind his back and is almost shoving him forward.

JUDY:  
Be a dear and get the door, would you?

\-----

INT JUDY'S OLD ROOM: NICK is seated on the bed, JUDY stands in front of the door. Her arms are crossed (showing impatience), her face shows concern.

JUDY:  
Nick, will you please tell me what's chewing on you?

NICK (stressed, almost resentful):  
Nothing. Let it go, already.

\-----

JUDY stands before NICK, her hands on his shoulders, her forehead pressed to his. (NICK is still sitting on the edge of the bed, their heads are just about level with each other.) 

JUDY (eyes closed):  
Nick dearest, you're a terrible liar. Let me remind you that I love you with all my heart, first last and always. 

I'm not angry, I'm concerned. Please tell me what's on your mind.

\-----

NICK (turning his head away from JUDY):  
Nothing.

JUDY:  
Nick please. You reek of fear. This isn't you.

\-----

JUDY steps back and crosses her arms, looking NICK straight into his eyes.

JUDY:  
I know you. You don't show fear even when you're getting shot at. But you're scared now and I have no idea why.

We're family, Nick. You're safe here, at least with me. 

NICK lowers his head as if ashamed.

\-----

JUDY turns to leave the room, reaching for the doorknob.

JUDY:  
I'll get our bags. You pull yourself together and unwind, all right? Please believe me, I'm not angry.

\-----

BACK UPSTAIRS, in the front room: JUDY has returned. STU, BONNIE and AARON are seated, each with one or two young children in their laps. VIOLET has arrived and is standing.

VIOLET (smiling):  
Hey sis. No Nick?

JUDY to VIOLET:  
'Sis. I was wondering when you'd get here. Nick's below in my room.

\-----

ALL (except the children) turn to JUDY with some indication of concern.

VIOLET:  
Without your bags. Is he all right?

JUDY (distractedly):  
He's fine, just tired.

\-----

[episode 1 act 2]

[caption: that evening]

INT. the HOPPS WARREN, dining hall: BONNIE and STU are at the head of a large circular table: JUDY, NICK, VIOLET and many of their direct siblings are seated, some with children in their laps. A large rectangular cake is in the center of the table, the number '30' in frosting on the top. Next to the cake is a cake knife and a few stacks of small plates. Around the cake are several bottles of apple wine, just about everyone at the table has a glass before them. 

STU:  
Wow, these cakes keep getting bigger every year!

BONNIE (smiling):  
Everything here gets bigger every year. 

\-----

BONNIE (cutting the cake):  
Speaking of which, who wants cake?

STU:  
Just a tiny bit for me, I don't need to get any bigger.

Some laughter can be heard from around the table.

\-----

FOCUS TO JUDY, handing a slice of cake to NICK.

NICK (accepting the plate, smiling):  
Carrot cake, my favorite.

JUDY:  
Hm? There are other kinds of cake?

\-----

FOCUS TO AARON, seated next to them:

AARON:  
Judy makes a killer chocolate cake if I remember right.

NICK (looking absently at his plate):   
Hah, 'killer.'

\-----

JUDY to AARON:  
Nick has to miss out on that, chocolate is toxic.

AARON (surprised):  
Toxic?

JUDY:  
To some mammals.

\-----

AARON (surprised):  
Well that's a crying shame.

NICK (fixing a hard stare on his slice of cake):  
I wouldn't know, but this cake looks delicious.

\-----

NICK appears to be a bit perturbed as he eats (a very large forkful of) the cake.

JUDY to NICK (sotto voce):  
Nick..?

NICK (sotto voce around a mouthful of cake):  
Let it go.

VIOLET:  
So! Judy, Nick: you're here for a long weekend?

\-----

JUDY turns to VIOLET.

JUDY:  
For mom and dad's anniversary, of course. And a bit of shopping, I can't find Fleur de Trèfle anywhere in the city.

VIOLET:  
Might as well stock up on tea while you're up here. Nick: you're not here for the shopping, are you?

[// fleur de trèfle: clover blossom, Judy's preferred accessory scent.]

\-----

NICK is a bit more relaxed. His plate is completely clean, although all of the rabbits are taking their time with their slices.

NICK:  
I'm here for the scenery. Oak Stump Hill is the perfect place to watch the Leonid meteor shower. It's supposed to be a storm this year, visible even under the full Moon.

\-----

JUDY smiles as she hands another slice of cake to NICK.

JUDY to VIOLET:  
And an extra day away from the city.

NICK to JUDY (taking the plate):  
Oh yeah that too, definitely. 

\-----

FOCUS TO BONNIE: BONNIE smiles widely at them as only a loving mother would. The cake is almost all gone.

BONNIE to NICK, JUDY and VIOLET:  
You can stay as long as you wish. I never see enough of my children, you know.

JUDY:  
I wish we could stay longer, I really miss this place.

\-----

STU to JUDY:  
Come to think of it, one of the Sheriff Deputies is retiring this year. I'm pretty sure you could get that job with your credentials.

JUDY (exasperated):  
Dad, you know I'm not qualified for that job and I wouldn't get hired even if all the Reeves endorsed me. 

\-----

NICK turns to JUDY, clearly puzzled.

NICK:  
You, not qualified? You're a Detective sergeant and in SWAT reserve, not to mention your history with the ZPD.

JUDY (dismissively):  
I have the wrong skin for the job.

NICK:  
What huh? The wrong color, the wrong coat?

JUDY:  
The wrong shape, they'd never hire a doe. (Drop it.)

\-----

NICK (with a forced smile):  
I, for one, am glad you're a cop in the city.

JUDY:  
You know I am too, dear.

BONNIE (eager to redirect the conversation):  
Who's for tea? We have coffee for you, Nick.

\-----

VIOLET rises from her seat, putting her hand on JUDY'S shoulder.

VIOLET:  
I'll get us some cups. Judy, can you come with me? You know how Nick takes his coffee.

JUDY:  
Yep...

\-----

INT. the KITCHEN, dish wash and storage area: VIOLET assembles a tray of cups and saucers. JUDY loads a capsule-type coffee machine.

VIOLET:  
I couldn't help but to notice, Nick sure has a tick under his tail.

JUDY (shoulders shrugged):  
I know, and he won't say a word to me.

VIOLET:  
Is everything all right between you two?

JUDY:  
Ah, yes? I think so? I hope?

[// bear in mind, the warren is enormous. Their kitchen is comparable to that of a large restaurant.]

\-----

VIOLET:  
I'll break a rule just this once: either - or both - of you can talk with me about... whatever.

JUDY (staring fixedly at the coffee machine):  
I really don't think that's necessary. 

\-----

[caption: several cups of tea and a few glasses of apple wine later]

INT. JUDY'S ROOM: JUDY is unbuttoning her shirt, NICK is taking off his tie.

JUDY:   
I had no idea it was so late.

NICK:  
Time flies when there's a bottle on the table.

JUDY:  
Heh. Time flies when someone else is buying.

NICK:  
Mind you, I didn't come here just for the cider - uh, apple wine.

\-----

JUDY, shirt off, is unbuttoning her jeans. Her back is turned to NICK (and the viewer), facing the dresser. A long t-shirt is draped over the front of the dresser. NICK'S shirt is off, he's dropping his pants.

JUDY:  
Of course you didn't, you came here to relax. 

NICK:  
Yup. And to be with you, of course.

[// this series is rated 'PG' at most, less modest images of Judy can be found elsewhere. Also of note: Nick's boxers are of a plaid that hasn't been seen in any previous scenes.]

\-----

JUDY is pulling on the long T-shirt, the viewer has a brief glimpse of her panties. NICK has pulled back the covers of the bed and is seated on one side.

JUDY:  
So get with the relaxing, all right?

NICK:  
Oh I'm relaxed. 

JUDY:  
Finally. Thank you.

\-----

JUDY is bent over, pulling her panties off over a foot. 

JUDY:  
All I want is for you to unwind, dear.

NICK:  
Commence unwindage, all engines full stop.

\-----

JUDY sits on the edge of the bed, lifting the covers on her side. NICK'S head is already on a pillow, head turned to JUDY.

NICK (lustfully):  
And you wasted all that effort putting that shirt on.

JUDY:  
heh. Could you get the light?

\-----

NICK reaches to the table lamp. JUDY is under the covers, turned toward NICK.

NICK:  
Aye aye, lights out.

\-----

The room is almost entirely dark, only their dim shadows are seen. NICK turns in the bed toward JUDY.

JUDY (whispering):  
{giggle} Let's not forget this is my parents' warren, dear.

NICK:  
Oh, right. Rabbits.

JUDY:  
Sh.

\-----

NICK:  
All rabbits. Why are rabbits so uptight about sex, given how often you all do it?

JUDY:  
{giggle} Hush.

\-----

[/ end episode 1]  
[// 59 frames]


	2. episode 2: the wind-up

**Summary for the Chapter:**

> Nick and Judy get pulled away from each other for a while.

[episode 2 act 1]

INT. HOPPS WARREN dining hall: JUDY and NICK are carrying hot cups and small plates (JUDY has cole slaw (minus the mayo), NICK has a blueberry muffin) toward a table where VIOLET is seated behind a hot cup and half a pastry of some sort.

VIOLET:  
'Morning you two. Sleep well?

JUDY:  
Like logs.

[// artistic detail: Judy is wearing a dark tank top under a t-shirt, similar to what she wore in the first film, her journey to Zootopia. This detail will be relevant in the next episode.]

\-----

VIOLET takes a sip from her tea cup.

VIOLET (over her cup):   
Amazing.

NICK:  
Hm?

VIOLET:  
Over that racket, just amazing.

\-----

JUDY regards VIOLET as she removes the tea bag from her cup.

JUDY (askance):  
What racket?

VIOLET (smiling):  
The chain-saw running in your room all night. You could probably hear a cricket fart in the back field, but you slept through that.

\-----

NICK sips his coffee.

NICK:  
Now that you mention it, I wasn't able to sleep until the crickets stopped farting.

JUDY (sipping her tea):  
Why Violet, I had no idea that Nick snores.

NICK:  
Probably couldn't hear it over those crickets.

\-----

VIOLET gazes into her cup of tea.

VIOLET:  
I don't know how you two do it.

JUDY:  
Do what?

VIOLET:  
That. You two. All of it - any of it.

\-----

JUDY sips her tea.

JUDY:  
Me neither, but it works somehow.

NICK:  
What she said. What does the behaviorist say?

\-----

VIOLET regards them both, inclining her head forward to peer over her glasses. (This gesture has the effect of making her gaze appear more severe.)

VIOLET:  
Honestly, I see a miracle.

NICK (inclining his head toward JUDY, smiling):  
Angels have a tendency to make those happen, you know.

JUDY (blushing, yet smiling, as she pokes at her slaw):  
There's you, with the patience of a saint.

\-----

VIOLET studies them over her glasses as if through a microscope.

VIOLET:  
Just amazing. I'd do a write-up on you two if you weren't family.

NICK (incredulous):  
Huh, I'm 'family' now?

VIOLET:  
As good as family, at least by osmosis.

JUDY blushes, turning away from them.

\-----

VIOLET:  
You've been 'as good as family' since dad got a coffee maker. It's not like anyone here would even touch that thing.

NICK:  
Huh, you really mean it.

\-----

VIOLET to NICK:  
You haven't noticed that dad likes you a lot?

NICK (an expression of deep thought):  
Does he now.

VIOLET:  
True words. He'd still like you if the only thing you brought to this warren was a soggy clump of ginger hair in one of the shower drains. 

It's been years for you two. You're as good as family.

NICK is amazed.

NICK:  
Really, I had some doubts.

\-----

VIOLET sips from her cup.

VIOLET:  
True words. Ask him yourself, why don't you.

NICK'S face shows stress as he bites into the muffin. JUDY regards VIOLET with suspicion.

\-----

VIOLET to NICK:  
You and dad go have some 'dude time' after breakfast, I'm kitnapping Judy to do some shopping.

NICK:  
I thought 'dude time' was between Judy and Stu.

VIOLET:  
That's different.

JUDY says nothing, cautiously observing the both of them. BONNIE enters the scene at a short distance, followed by several twentysomething female rabbits, many young children in tow.

\-----

VIOLET takes another bite from her whatever-it-was.

JUDY (looking over her shoulder):  
Looks like first shift breakfast is rolling in.

NICK (bemused):  
First shift breakfast... 

JUDY:  
This hall only seats about four dozen. Get through that muffin before we get pulled into the kitchen. 

\-----

NICK regards the swarm of children, all finding seats at the tables.

NICK to JUDY:  
And you're 'mama' to this whole gang?

JUDY:  
Only to the children of my direct siblings. I'm 'aunt' to the children of the direct siblings of my direct brothers' mates.

\-----

NICK is baffled.

JUDY:  
...my siblings' mates are 'siblings,' and the direct siblings of my brother's wives are 'siblings by relation' but still sibs.

NICK:  
How do you keep track of this without a spreadsheet?

JUDY:  
There is a spreadsheet in the family cloud-space, I'll show you later.

\-----

NICK is just amazed.

NICK:  
All this time I thought your parents had two hundred-odd children.

JUDY:  
Less than five dozen and most of us aren't very odd. Let's roll out before we get pulled.

\-----

INT. LIVING ROOM upstairs: JUDY and NICK are seated on a couch, reading sections of the newspaper. JUDY has three young children in her lap. NICK has two young children next to him, including JETHRO.

JUDY (from behind the paper):  
You'd never know it, but children are drawn to you.

NICK (reading the paper):  
Must be my natural charm.

JUDY:  
It's because you're an adult. It's our job to teach them, we all teach the young ones.

\-----

NICK lowers the newspaper, looking over at JUDY.

NICK:  
What could a city fox teach a country rabbit?

JUDY:  
You have the sports section, teach them about sports.

\-----

NICK has a child on his lap, reading the 'paper with him. JETHRO is next to him on the couch, absently stroking NICK's tail in his lap. STU enters the scene.

JUDY (from behind the paper):  
Hey pop.

STU:  
Hey Dude. 'Morning Nick, what did the Chargers do last night?

NICK:  
Believe it or not, they won. Three goals in the third quarter.

\-----

JETHRO turns to NICK.

JETHRO (holding up one digit on one hand and all four of the other hand):  
A 'quarter.' One of four, papa Nick?

NICK (smiling):  
That's right. A 'quarter' is one fourth of the game, fifteen minutes. 

\-----

NICK realizes what JETHRO said.

NICK to JETHRO (confused):  
Whoa, 'papa Nick?'

JETHRO (pointing to NICK and JUDY with each of his hands):  
You an' mama Judy are in love.

\-----

NICK is clearly dumbstruck.

STU to JETHRO:  
Well yes they are, but they're not married.

JETHRO (looking directly at NICK with a flat expression):  
Why not?

\-----

STU (directly to NICK):  
Say Nick, could you help me with a computer thingy in the tractor hutch? Judy says you know all about that stuff.

NICK (handing the newspaper to JETHRO):  
Gladly.

JUDY (from behind her paper):  
Have fun with that, dear.

\-----

INT. farm garage, the 'tractor hutch.' STU and NICK walk past tractors, tillers, related farm gear. 

STU:  
I just need a bit of help. The boys ran a cable out the other day because the wi-fi in here is really weak.

NICK:  
Let's see that cable you brought out.

\-----

STU and NICK are at a work bench against a wall, a radio console and a laptop are on the table. STU indicates the end of a CAT-5 cable, coiled and hanging from a nail in the wall.

STU:  
This is what we have here, the other end is on the router-modem thing in the office.

NICK (examining the cable):  
Is this all less than fifty metres?

\-----

STU hands NICK a box.

STU:  
For sure, no more than thirty. Abner got us this 'repeater,' whatever that is. He's our computer guy but he's in the city today.

NICK (taking the box):  
I got this, I'll have it set up in a jiffy.

\-----

NICK pulls up a stool to the bench.

STU:  
I don't know if you noticed, but Jethro has taken a real liking to you.

NICK:  
Uh... Helen's boy, dark coat? 

STU:  
Yep. He's a 'special' child, but full of curiosity.

NICK:  
Special?

\-----

STU leans against a wall and crosses his arms. NICK has the box open. 

STU (an expression of concern):  
Really smart, but he's some kind of autistic. Not really drawn to strangers, not talkative at all.

But he's drawn to you like a magnet, and this is the first time he's even seen you.

\-----

NICK plugs a power cable into an outlet box on the wall.

NICK:  
I think he's fascinated with my tail. Kinda weird, he isn't afraid of me at all.

STU (puzzled):  
Why would he be afraid of you?

NICK:  
Because of my skin.

STU:  
Hm?

\-----

NICK plugs a short CAT-5 cable into the back of the laptop.

NICK:  
The shape of it.

STU shows impatience.

\-----

NICK is focusing on the laptop, typing at the keyboard.

STU (bluntly):  
You'd think we'd all be comfortable with a fox in our warren after all this time.

NICK:  
I know, Stu. But sometimes I'm reminded how different we are.

This is one of those times. Pick a password.

\-----

STU:  
Ah, what's your middle name?

NICK:  
Mine? Piberius.

STU:  
That's the password.

\-----

NICK types, a bit amused.

NICK:  
Okay, 'piberius-hopps03' it is. Why my middle name?

STU:  
Because only three mammals in the whole county know it.

NICK:  
That many?

STU:  
Including you and Judy, and I just learned it.

\-----

STU leans back into the wall.

STU:  
I sure wish you'd relax, Nick. Our home is your home. You're as good as one of us.

NICK (focusing on his phone):  
One of you, a rabbit?

STU:  
A son by relation. What do you folks call it, an 'in-law?'

\-----

NICK looks at STU directly, with a dead-serious expression.

NICK:  
Okay we're gonna do this, Stu: where do you see Judy in five years?

STU:  
In the city, still a cop, and on your arm.

NICK:  
And you're okay with that.

\-----

STU:  
Judy does what she does, you of all folks should know that. She has to make her own path.

That path took her to the city, the Police, and straight to you. A straight line guided by her own notion of Simplicity, even if it's through the briar.

\-----

STU (eyes rolled up in reflection, a smile on his face):  
That's our Jude the Dude. Stubborn as any buck and twice as strong, and we love her no matter what because she's usually doing the right thing.

NICK:  
And her on my arm is the right thing.

STU:  
Without a doubt.

\-----

NICK winces a bit, looking intently at his hands.

\-----

NICK regains composure.

NICK:  
Okay... well, I also want her on my arm, but sooner than five years. I wanted to ask you first, but I think you saw this coming.

STU (plainly):  
Consider it asked and answered: go to it and Graces guide the both of you.

\-----

NICK stares directly at STU, his arms hanging limp at his sides.

NICK (stunned flat):  
Just like that? Yes, marry your daughter?

STU:  
Absolutely. It would be 'complication' if I said no. The path through the briar is the most Simple path for you two.

\-----

NICK puts an elbow on the bench and rests his head in that hand.

NICK:  
And you don't mind being dragged through the briar with us?

STU (directly):  
Heh, not after you two lay down the road.

\-----

[episode 2 act 2]

[caption: meanwhile, in 'town']

JUDY and VIOLET are in a boutique in central Bunnyburrow, at the cosmetics counter. Before them are a few 'sampler' bottles of perfume. JUDY follows her nose directly to what she wants.

JUDY (smiling):  
Here it is. Can you believe I can't get this in the city?

VIOLET (sniffing another bottle):  
Probably. Mm, I like this.

\-----

JUDY picks up a bottle of perfume and a bottle of body spray. VIOLET puts a spritz of something on the inside of her wrist. A CLERK (rabbit, female, young and attractive) nods to JUDY.

VIOLET:  
So you and Nick are up here to catch the meteor shower.

JUDY:  
He's a bit of a stargazer, but there's way too much light in the city. We have to go out to the Desert to see anything smaller than the Moon. 

\-----

VIOLET sniffs at her wrist. JUDY hands her bottles to the CLERK.

VIOLET:  
He says it's supposed to be a storm. Heh, the perfect time to wish on a star.

JUDY (focused on the CLERK):  
Hm? {just these, thank you.}

\-----

VIOLET (softly singing):  
♪ When you wish upon a star ♫

[// the theme from Pinocchio, of course]

\-----

JUDY hands a credit card to the CLERK.

JUDY to VIOLET (eyes rolled to show mild annoyance):  
Aah, now that song is stuck in my head.

VIOLET holds out her wrist to JUDY.

VIOLET:  
You're welcome. What do you think of this scent?

\-----

JUDY accepts the bag and her card from the CLERK.

JUDY to VIOLET (while trading with the CLERK):  
{thank you.} I think that scent says... ah, 'professional.'

VIOLET (pleased):  
Oh good.

JUDY:  
Almost 'clinical.'

VIOLET:  
Perfect.

\-----

JUDY looks straight at VIOLET.

JUDY:  
Makes me think, 'sterile.'

VIOLET:  
As in 'barren,' or as in 'sanitized?'

JUDY:  
Your choice.

\-----

VIOLET shrugs and hands a card to the CLERK.

VIOLET:  
Well I like it. I don't wear a second scent for your benefit, you know.

\-----

JUDY pokes her nose around the counter. VIOLET hums quietly: ♫ ♩ ...

JUDY:  
Not helping, sis.

\-----

VIOLET (head inclined, smiling, singing, eyes on JUDY):  
♪ Anything your heart desires will come to youuu ♩ ...

JUDY rolls her eyes in exasperation.

\-----

VIOLET:  
Come on, you don't have wishes?

JUDY:  
Of course I do. They'll come true in time.

VIOLET:  
And the moon is full, some coincidence. 

\-----

VIOLET:  
A perfect storm. Maybe Nick's wishes will also come true.

JUDY crosses her arms across her chest, showing impatience, the bag of perfumes tightly held in one hand.

JUDY:  
You won't let up, will you.

VIOLET (smiling):  
Nope. You're welcome.

\-----

[/ end episode 2]  
[// 53 frames]


	3. episode 3: the pitch

**Summary for the Chapter:**

> Nick and Judy go stargazing.

[episode 3 act 1]

INT. HOPPS WARREN, living room: NICK is on the couch with a book and JETHRO in his lap. NICK'S tail is bent, the end of it in JETHRO'S hands. JUDY and VIOLET enter, carrying bags from their trip into town. NICK and JETHRO look up from their book.

VIOLET TO NICK:  
Hey hi. What are you two reading?

NICK:  
Sheet music from the piano downstairs.

VIOLET:  
Not exactly light reading, is it? 

[// detail: this is the afternoon of the day of episode 2, all characters are wearing what they wore at the end of that episode.]

\-----

JETHRO traces a finger across a line of music, singing.

JETHRO (following his finger):  
♩ La la ♪ lalala ♬ laaa~lala ♫ lala la ...

JUDY and VIOLET are stunned, eyes and mouths open wide in amazement.

\-----

JUDY and VIOLET put their bags down.

VIOLET (astonished):  
Oh my goodness that's incredible, he's got perfect pitch. Where's Helen?

NICK (looking up at VIOLET):  
Downstairs on the piano, we were just down there. She already knows about this.

\-----

JUDY drops to a squat, knees forward facing JETHRO.

JUDY (also amazed):  
Jethro honey, can you tell me how old you are?

JETHRO stares blankly at JUDY.

\-----

NICK looks downward to JETHRO.

NICK to JETHRO:  
Jet, can you show her how many years you have?

JETHRO shyly holds up all four digits of one hand.

\-----

VIOLET to JUDY (bluntly):  
He's the one, snatch him up this instant.

JETHRO puts a hand on the middle of his chest, staring at VIOLET with an expression of total confusion.

JETHRO:  
Me?

\-----

VIOLET to JETHRO (smiling):  
No honey, I was talking to Judy about Nick.

JETHRO (to JUDY, staring ahead with a blank expression):  
Yes now. Don't stop don't wait please do it now dear.

JUDY blushes, her ears flushed bright red.

\-----

[episode 3 act 2]

EXT. the countryside: JUDY and NICK, hand in hand, are hiking up a hill. The setting sun is ahead of them, nearing the west horizon. 

\-----

They approach the peak of the hill, at which is the stump of what was once a giant tree.

JUDY:  
This was once a giant oak, maybe hundreds of years old. It got knocked down in a storm about two hundred years ago.

\-----

JUDY puts a palm on the stump, looking directly at it.

JUDY:  
The lumber from this tree made Bunnyburrow. From it was built our first meeting-house and some of the older farm houses.

NICK (with genuine interest):  
You don't say.

\-----

JUDY closes her eyes, both hands on the stump.

JUDY (quietly):  
This tree is still the heart of our town. There's a beam from it in our warren, ask dad to show you.

\-----

FOCUS TO NICK and JUDY seated on the stump, holding hands, facing due west. Their backs are to the viewer. The sun is setting, the lighting casts the scene in shades of red.

JUDY:  
I used to come here to see the sunset. This means a lot to us, you know.

NICK:  
Really? I thought farmers would be more drawn to the sun rising.

\-----

FOCUS to 3/4 view of NICK and JUDY, their faces illuminated by the setting sun. They are both staring out due west.

JUDY:  
We are, but the setting sun is part of a promise. No matter what the night may bring, the Sun will always rise in the morning.

\-----

The sky is shades of violet. JUDY leans into NICK.

JUDY:  
So far we haven't been let down.

\-----

They stand up and turn to go around the stump.

NICK:  
Now, tonight's main feature.

\-----

[bookmark 3-2-1]  
  
FACING THEM BOTH HEAD-ON: JUDY is seated on the edge of the stump. NICK is seated directly behind her on the stump, his legs around hers, his arms around her hips, his head directly over hers. They are cast in almost complete darkness, a few stars are visible. Their heads are both turned upward to the sky.

NICK:  
I've been waiting all month for this.

\-----

[bookmark 3-2-2]

ROTATE FOCUS 180º, facing NICK'S back: JUDY points upward. A meteor streaks brightly across the sky.

NICK:  
Did you make a wish?

JUDY:  
Of course.

\-----

ROTATE VIEW 180º to facing them as in bookmark 3-2-1: NICK embraces JUDY, both hands around her abdomen.

NICK (singing):  
♪ When you wish upon a star ♫

JUDY smiles, her hands over NICK'S.

\-----

JUDY looks upward at NICK.

JUDY:  
Did you make a wish?

NICK:  
Wait for it.

\-----

ROTATE FOCUS 180º, facing NICK'S back as in bookmark 3-2-2: A tiny sliver of the rising full Moon is visible over the east horizon. Falling meteors are still visible.

JUDY:  
You weren't kidding, the meteors are still visible.

NICK (singing):  
♪ When you wish upon a star as dreamers do ♩

\-----

NICK reaches into one of his pockets.

JUDY:  
This is the night for wishes, isn't it. The stars, the Moon, they're all in place.

NICK:  
I hope so.

\-----

ROTATE VIEW back to the framing in bookmark 3-2-1: NICK'S left hand is over JUDY's left hand, his right hand is closed in a fist over her abdomen.

JUDY:  
You have a wish, don't you.

NICK:  
Just a question.

\-----

CLOSE-UP to JUDY'S abdomen: NICK'S left hand is under JUDY'S left hand, rotated palm up to lift JUDY'S middle finger. His right hand slides a ring over her finger.

[// artistic note: almost all Disney nonhuman animals are illustrated with three fingers and one thumb, with the exceptions of some ungulates. Curiously enough, very few are shown to be wearing rings.]

\-----

FOCUS BACK to the framing in bookmark 3-2-1: JUDY'S right hand is clasped over NICK'S hands. 

NICK (head turned upward):  
Judy? 

JUDY (eyes shut, a wide smile):  
Yes a hundred times yes of course I will. 

\-----

LATERAL VIEW: NICK embraces JUDY, his lips moving as he whispers to himself, gazing straight at the Moon. JUDY'S ears rotate inward to him, though her head is directly below his.

JUDY (eyes still closed):  
Hm? Lunar what?

\-----

NICK smiles with an expression of rapture, all teeth, eyes closed as he embraces her tightly.

NICK:  
Luna gratia plena.

\-----

[caption: hours later]

JUDY and NICK, arm in arm, enter the HOPPS WARREN dining hall. VIOLET (in a red chequered one-piece pajama) and AARON (wearing a tank top and grey sweatpants) are at a table with STU (in a t-shirt and sweatpants) and BONNIE (plain frumpy house-coat). All of them have cups of tea on the table. All of them turn to JUDY and NICK as they enter.

JUDY is wearing NICK'S tie over her t-shirt. Both of them have an expression of total bliss. This isn't wasted on VIOLET.

VIOLET to them both:  
How was the star-gazing?

JUDY (eyes half closed, a blissful smile):  
Absolutely breathtaking. Is there a kettle on?

VIOLET:  
Always.

\-----

JUDY and NICK walk toward a table with a restaurant-grade hot beverage machine with two pots of water steaming. 

JUDY to NICK:  
What's for you, dear?

NICK:  
I'll have that strong black tea if you have it.

JUDY:  
I'd suggest chamomile this late in the night...

NICK:  
Decaf, then.

[// The brand of the machine is Bunn, a well-known manufacturer of commercial hot drink machines.]

\-----

JUDY and NICK join the HOPPS at the table with their cups.

VIOLET to JUDY, over her tea cup:  
That's a bold choice, Judy. 

JUDY (a bit giddy):  
The tie? Heh, it's just for tonight because why not.

STU (half a smile):  
I think it works on you, 'Dude.

VIOLET:  
Not the tie, silly.

\-----

VIOLET nods toward JUDY'S hand.

VIOLET:  
The other thing, the new thing.

AARON leans in to squint at JUDY'S hand on her cup.

AARON (surprised):  
Well would you look at that! 

STU and BONNIE also focus on JUDY'S hand.

\-----

BONNIE (almost aghast):  
Oh my dear, look at that...

NICK only stares into his cup, smiling.

\-----

STU rises from the table. 

STU:  
I saw this coming. Hang on everyone, I'll be right back. 

BONNIE is blushing deeply, ears darker than pink, as she stares into the bottom of her teacup.

\-----

NICK and JUDY are holding hands atop the table.

BONNIE to JUDY (worried expression):  
Judy, when did this happen?

JUDY:  
A few hours ago?

NICK:  
On the zenith.

\-----

BONNIE to NICK (flat expression):  
The z-what?

NICK (plainly, as if explaining the obvious):  
The zenith, the peak of the Moon's path. And tonight's the perigee.

AARON to NICK (genuinely curious):  
Is that astronomy or astrology?

NICK:  
Both.

\-----

BONNIE, an elbow on the table, rests her head on that hand and looks toward NICK with a deliberately blank expression.

BONNIE:  
I keep forgetting you're Lunist.

NICK to BONNIE:  
I'm glad you think that's the most 'different' thing about me.

STU returns with a bottle of wine and a glass rack with six stem glasses.

STU:  
I've been holding onto this for something special.

\-----

STU places the bottle and the glass rack on the table. All but BONNIE look toward him, smiling.

STU:  
This is something special, am I right? 

JUDY (looking at her left hand):  
Oh yes, absolutely.

BONNIE turns her head away, blushing.

\-----

STU aims the bottle away from him and unwraps the foil.

STU:  
It's not too late in the day for a celebration, is it?

AARON (smiling):  
Nope, not for something like this.

\-----

STU works at the wrapping on the bottle. The foil breaks, the cork shoots out and ricochets off NICK'S forehead.

STU:  
Oop! Sorry, Nick.

NICK (wincing):  
Down-range here!

JUDY (giggling):  
Mammal down.

\-----

STU rapidly pours out a glass.

STU (an expression of guilt):  
Goodness I'm sorry, Nick. Are you all right?

NICK (rubbing his forehead):  
I'm okay, I just hope this isn't an omen of things to come.

JUDY (leaning into NICK, smiling):  
Maybe we should bring a riot helmet for our wedding reception?

\-----

STU hands a short pour to BONNIE, who is not at all amused.

STU (smiling):  
First glass to the mother of the bride-to-be. Bonnie?

BONNIE (absently and reluctantly taking the glass):  
Thank you Stu.

\-----

All others have glasses in their hands, inclining them slightly to JUDY and NICK.

STU:  
Congrats, you two! Now Nick, tell me why it took so long to pop the question?

NICK:  
This was a while in the works, I was waiting for the right moment. But you saw this coming, didn't you?

\-----

STU leans into BONNIE (who is doing her best to put on a show of being at least not-unhappy).

STU:  
We both did, it was just a matter of time.

NICK (nodding downward):  
A matter of timing, really. Everything lined up at the perfect moment this year. I've been working up to this for months.

\-----

VIOLET leans toward NICK, peering over her glasses.

VIOLET:  
Something about the Leonid shower and the full Moon at perigee lining up at the same time? I don't think that will happen again for years.

NICK (sipping at his apple wine):  
Thirteen years, and I would've done it all tonight anyway.

\-----

JUDY (hand on NICK'S):  
I'd still say yes, no matter what the moon and stars were doing. Maybe I would have asked you if I thought the time was right.

BONNIE (half a 'face-palm' gesture, looking downward):  
That's our daughter for you...

\-----

STU regards BONNIE askance.

STU:  
That's our Dude. We saw this coming, bun'.

BONNIE (distantly):  
Yes we did...

\-----

Almost all eyes around the table are on BONNIE. AARON and VIOLET have expressions of concern. JUDY shows some annoyance. NICK looks away, an expression almost of shame. BONNIE folds her hands around the stem of her glass and looks directly downward into it, avoiding all gazes.

STU to BONNIE (concerned):  
Honey bunny, our daughter is getting married. This is a reason to celebrate.

BONNIE (trying very hard to not appear upset):  
Yes, our daughter is going to get married. I'm all right, just give it a moment to settle in.

\-----

STU turns to face the others.

STU (with a forced smile):  
Whoa, look at the time. It's getting late, heh. We should hit the hay. Good night all.

BONNIE (awkwardly):  
Yes it's late. Good night, dears.

\-----

BONNIE and STU exit. AARON rises from the table, taking his tea cup and wine glass.

AARON:  
Yeah I should sack out too, dad has me in the utility cellar early tomorrow. G'night all.

\-----

VIOLET, JUDY and NICK remain. NICK stares uneasily into his cup. JUDY stares at VIOLET, nervously fiddling with her ring.

VIOLET to JUDY:  
That ring feels like it weighs a ton, doesn't it.

JUDY:  
I was hoping she would be more happy about this.

NICK:  
Um, do you two need the table? I can leave...

\-----

VIOLET:  
Your choice. You know we can talk whenever you want.

NICK rises from his seat with his cup and glass, leaning over to lick the back of JUDY'S head.

NICK:  
Have some time with your sister.

\-----

NICK exits. JUDY looks directly at VIOLET over her tea cup as she takes a sip. VIOLET folds both her hands around her tea cup.

JUDY:  
You first.

VIOLET:  
I think we all saw this coming. Also, congrats.

JUDY:  
Saw what coming?

\-----

JUDY puts down her cup.

VIOLET:  
Mom passing a stone if Nick proposed to you.

JUDY:  
When Nick proposed. I think everyone knows it was as promised as the sunrise.

\-----

VIOLET tilts her wine glass toward JUDY.

VIOLET:  
All the same, congrats.

JUDY:  
So you have no doubts about this?

VIOLET:  
No I don't, but we both know that mom does.

\-----

FOCUS TO: JUDY clenches her teeth, an expression between anger and sadness.

JUDY:  
I thought we already settled this. I guess we'll have to settle it again.

\-----

[/ end episode 3]  
[// 54 frames]


	4. episode 4: home run

**Summary for the Chapter:**

> Judy settles some family business.

[episode 4 act 1]

INT. HOPPS WARREN dining hall: VIOLET, JUDY and NICK, fully dressed, are at a small table for breakfast.

VIOLET:  
By the way, I wanted to say it again that I think you're ready for this.

JUDY (poking at some slaw):  
Marriage, you mean.

VIOLET:  
Yeah. All the same, you two should talk to Caleb sometime soon.

\-----

NICK bites off the top of his muffin.

NICK (regarding VIOLET, speaking with a mouthful of muffin):  
Caleb?

JUDY:  
He's our lawyer, he does family and estate stuff. Let me talk to him first.

VIOLET:  
Our - ah, 'direct' brother if that helps.

\-----

NICK has swallowed, and is poking at his phone.

NICK:  
I have the database on my phone now, I can look him up.

VIOLET:  
Heh, you're 'family' if you have access to our cloud-space.

JUDY to VIOLET:  
I added Nick as a 'pending' relation.

\-----

VIOLET:  
I saw that. I should remind you, for Nick's benefit: mom can remove that entry.

NICK (looking up at VIOLET):  
What's this now?

\-----

VIOLET to NICK:  
I know dad approves of you two getting hitched, but mom has the last say. 

Dad's the 'patriarch' only in name. He has the field, mom has the house. That's how it is around here.

\-----

VIOLET glances at her watch.

VIOLET:  
I should get moving, I'm taking the next train back to Zoo. By the way, dad's in the utility cellar with Aaron and mom's in the office upstairs.

JUDY (sipping tea):  
Noted.

\-----

VIOLET, standing and carrying her cup in one hand, passes behind JUDY and leans in toward NICK.

VIOLET:  
I'm really happy for you two, and I'm glad to have you as a brother. 

NICK'S eyes are locked on hers.

\-----

VIOLET exits.

JUDY:  
The last train to the city is at 8:15 tonight.

NICK (nodding):  
Mmhm, is that enough time for you to put out the fire in the office upstairs?

\-----

JUDY stands and picks up her cup.

JUDY (serious expression):  
I hope so. Go help dad and Aaron in the utility cellar. Please don't talk about 'us,' all right?

NICK (nodding):  
Got it, don't worry about me crossing your work.

\-----

INT. OFFICE UPSTAIRS, a home office with bookcases, a comfy armchair, and an old-fashioned roll-top desk equipped with a laptop in the center of the desk and a small printer on the top ledge. BONNIE is seated at the desk, an open accounting ledger in her lap as she squints at the laptop screen. JUDY is in the comfy chair.

JUDY:  
You know you could ask Abner to find a bigger screen for that thing.

BONNIE (absently):  
Oh I couldn't ask him for that.

JUDY:  
Then I'll ask him.

BONNIE:  
I suppose...

\-----

JUDY pretends to examine her manicure, looking down at a hand spread topside-up.

JUDY (indirectly):  
So when are you going to tell me what's chewing on you?

BONNIE:  
Just going over some numbers, dear. It's the middle of the month, you know.

JUDY:  
Mom, you can't pretend there isn't a problem. 

\-----

ROTATE FOCUS TO BONNIE as she turns to look straight at JUDY.

BONNIE:  
Why would you think there's a problem?

JUDY:  
Just level with me, mom. This is serious.

\-----

ROTATE FOCUS to face JUDY from over BONNIE'S shoulder, frame to include both.

JUDY (directly):  
I thought we settled this a long time ago. Nick and I are a couple and I really thought you were fine with it. 

\-----

SAME FRAMING: 

BONNIE:  
I'm fine with you two being a couple. It's just that - ah, marriage is such a big leap forward.

JUDY:  
Don't tell me you weren't expecting this.

\-----

ROTATE FRAMING to include BONNIE and JUDY, in their seats, directly facing each other in equal lateral perspective:

BONNIE (with a worried expression):  
Of course I was. And please believe me when I say that I really like Nick - but marriage is... just so much.

JUDY (a scowl rising):  
How is this different than that of my sisters? Am I just not seeing why Nick's proposal is somehow different?

\-----

JUDY (full-on scowling):  
Is it because he's a canid?

BONNIE (distressed, as if under fire):  
No of course not!

JUDY:  
Is it because he's Lunist?

BONNIE:  
No, honestly that's not it!

\-----

JUDY crosses her arms across her chest, clearly angry.

JUDY (bluntly):  
Then what is it?!

BONNIE looks directly at JUDY, a very distressed expression on her face. She's almost in tears. Her hands are out in front, pleading for Judy to feel the urgency of her words.

BONNIE:  
He's a city cop, Judith! Don't you remember what happened to Tom Schwarzwolf!

\-----

JUDY turns her head downward in a mournful manner, eyes narrowed as if to mask her obvious pain. Her hands are flat on her lap, palms down.

JUDY:  
Of course I do, I still have nightmares about it. There isn't a cop in all the ZPD who doesn't remember what happened.

\-----

BONNIE (less upset):  
Well I think about that every day and night. That's why I call you all the time, to make sure you got home all right.

You know me, Judith. I love you and I worry about you over there. You're my child, I love you.

\-----

ROTATE FOCUS TO focus on JUDY occupying the center 2/3 of the frame: JUDY'S arms are on the chair armrests. Her expression is one of sympathy.

JUDY:  
I know you worry about us. I worry about Nick too. 

And I'd worry a lot more if he was a firefighter; there are a lot of them in Heroes' Field, more than there are cops. Lots more.

\-----

JUDY:  
Anyway, Nick also wants to marry a cop. We're both assuming the same risk we take every day on the job.

I hope this isn't all about me being a cop because I thought that was settled ages ago.

\-----

BONNIE (with difficulty):  
I'm all right with you being a city cop, at least as 'all right' with it as I'll ever be.

I still wish you were a deputy out here. You could still be a 'cop' and I wouldn't be so worried about you.

\-----

JUDY (irritated):  
You know I couldn't be a deputy out here. This isn't the place for me to be a 'cop,' not that this county ever needs 'cops' anyway.

This place isn't the place for me to be me. And it's not the place I would've found anyone like Nick.

\-----

BONNIE (innocently):  
Surely there are foxes in Bunnyburrow...

JUDY (sternly):  
Mother, I do not have a canid fetish. I love him for who he is, not what he is. Please don't think of me as having some kind of kink.

\-----

BONNIE (looking away):  
I don't want to think about that at all, Judith.

JUDY:  
Fine by me. Can you accept that I've taken Nick's proposal to be his mate?

\-----

BONNIE:  
As much as I can accept anything you do. You always do the right thing, even if it's... well, irregular.

\-----

Both of them are much more relaxed. Bonnie has returned her attention to her computer.

BONNIE:  
Unorthodox, even.

JUDY:  
Head-on through the briar. This is going to be new for me too, but I have to do it. 

I can't even imagine what parenthood will be like, I suppose I'll find out when that time comes.

\-----

BONNIE (still working on her spreadsheet):  
Can rabbits and foxes even have children?

JUDY (casually):  
I don't think so, otherwise you would have been a grandmother by me a long time ago.

\-----

FOCUS TO BONNIE as she places both elbows on the desk and buries her face in her hands.

BONNIE:  
I said I didn't want to think about that.

\-----

[episode 4 act 2] 

INT. UTILITY BASEMENT, electrical end: STU, AARON and NICK are standing before a large breaker box on the wall. AARON is holding a large reel of cable fish tape. At their feet is a large coil of cable and a reel of cable puller.

AARON (generally, to both):  
We're running cable from here to the kitchen today. All we're doing is placing the line, we won't be doing any electrical connections.

NICK:  
That's fine by me, I do not want to be messing with high voltage.

AARON:  
I won't try to do another Guild's work.

\-----

AARON hands the reel of cable puller to STU.

AARON:  
I'll start with a draw line, I'm gonna pass it up to the open junction box upstairs. You two, put the cable pull on the end and give it a tug. Pop, can you take Nick upstairs?

STU (accepting the reel):  
Sure thing. C'mon Nick.

\-----

INT. KITCHEN, one level up, toward the production end: they face an open junction box on the wall, the cover hanging by one screw on the corner. The j-box is about knee-high to Stu, much lower to Nick. Both of them are doing not much of anything at the moment.

STU (staring at the j-box):  
I guess we're waiting for Aaron to push up that draw line...

\-----

STU (still staring):  
He did say it could take a while.

NICK:  
As long as I can catch the 8:15 back home.

STU:  
It shouldn't take that long. By the way, thanks for setting up that network-thing in the tractor hutch.

\-----

NICK:  
So it's working okay?

STU:  
Better than 'okay.' I'm sure glad you stopped by.

\-----

NICK:  
I'm sure you were also looking forward to seeing Judy.

STU (smiling):  
Yeah of course! We never get enough of our kits. I'm almost glad to see what new wrinkle our Dude brings to us.

She's full of surprises, you know.

\-----

They're both relaxed, leaning against the wall, not paying any attention at all to the j-box.

NICK:  
Yup, full of surprises. She always finds a new way to catch me off guard.

STU:  
You, the 'sly' fox? You haven't figured her out by now?

NICK:  
She's female, Stu. Never a dull moment.

\-----

STU:  
Heh, you're right about that. But I did expect one thing to happen.

NICK:  
What's that?

STU:  
You proposing to her right after our little talk in the tractor hutch.

\-----

NICK awkwardly stares at the floor, awkwardly placing a hand at the back of his neck.

NICK:  
Uh yeah. That seems to have rattled the missus a bit.

STU:  
Bonnie's a bit old-fashioned. She doesn't like stuff that's out of step.

NICK:  
She seems to tolerate me well enough...

\-----

STU:  
She loves you, Nick. All the same, this engagement has her a bit spooked. Kinda like when Sharon married Barat, he's from Ankara.

NICK:  
Barat's a rabbit? 

STU:  
Yep.

NICK:  
So how's that 'out of step?'

\-----

STU crosses his arms across his chest and stares outward at nothing.

STU:  
He's a Supplicant and Sharon converted. Gotta tell you, their wedding was different.

NICK:  
Ah, I get it.

\-----

STU:  
Doesn't change a thing, she's still our daughter and we love her as much as ever. And their children are just wonderful, we never see enough of them either.

I don't have to understand them in order to love them, that's a given. Love is love, no matter what.

\-----

STU (turning to NICK):  
The same goes for you and Judy without saying, don't you ever doubt it for a second. We'll always love you as long as you take care of our child.

NICK:  
I'll take care of her, Stu. Just as much as she's been taking care of me.

\-----

STU:  
You two really are peas in a pod, you know. I can tell, just by watching. You belong together. To not allow it would be like not allowing love at all.

\-----

NICK, relaxed, turns to STU.

NICK:  
I'm glad you're on board with this. It sure makes the ride home a lot easier.

STU:  
Don't worry about Bonnie. She just needs some time to come around. Trust me, she will in time. Takes more than a day to grow a cabbage, you know.

\-----

NICK (quietly, to himself):  
Hah, where have I heard that before.

AARON enters the frame from the far side, cup of tea in one hand.

AARON to both:  
How you two doing here?

\-----

NICK turns quickly to AARON. STU continues to lean against the wall, arms crossed, smiling.

NICK to AARON (surprised):  
Uh, I guess we're waiting for a draw line?

AARON:  
Oh that'll take like ten seconds. Dad and I can do that, just the two of us.

\-----

AARON (smiling):  
I figured you two needed the time. So is everything good?

STU (smiling):  
It is as far as I can see. Nick?

NICK (smiling, narrowed eyes):  
Sly bunnies. Yeah it's all good.

\-----

[/ end episode 4]  
[// 47 frames]


	5. index: character and milieu analysis

**Summary for the Chapter:**

> This entry gives detailed description of the characters, describing their changes over time and the development of interpersonal relations. This may appear to be a repetition of what the reader already knows, but is nonetheless included as reference. This section isn't a pre-requisite to the story, but it may become helpful as the reader goes deeper into this world.

Zootopia: Et Sequelae 1  
index: character and milieu analysis  
  


DRAMATIS PERSONAE: 

preface: Almost all of these characters have appeared in earlier works by this author. Almost all of them have changed over time.

Judy Hopps [c]: Judy has matured a lot since the first film, partly due to her gritty experiences with the ZPD, and partly through her relationship with Nick. She is less impulsive, less outwardly emotional, and generally more able to handle the challenges and responsibilities of adulthood. 

relationships:

ZPD: Judy is respected throughout the ZPD, with the exception of a few cops who generally have problems with progressive change in the Department and/or 'prey' people in general.

Nick Wilde: intense and simultaneously laid-back romance.

her parents and the Hopps warren: Judy's family accepts that she is seriously involved with Nick, yet some of the family still show some disapproval.

Thorium et al: very close with L.E., quite cool with Eric and the band, nonetheless doesn't prefer to hang out at the Anvil since she doesn't drink a lot or really like Metal music (Thorium excepted).

\-----

Nick Wilde [c]: Nick is still mostly level-headed, and still occasionally sarcastic, but less self-interested than he was in the first works. He has also matured a lot, mostly as a result of his work with the ZPD and his relationship with Judy (and thus her entire family).

relationships:

ZPD: Nick is accepted as a cop, although with some reservation.

Judy: red-hot and not-at-all-discreet romance.

the Hopps family: there's an understood and unspoken mutual acceptance.

Thorium et al: Nick accepts Judy's friendship with Eric, though is sometimes a bit snarly with Eric. 

\-----

Sgt. Tomas 'Tom' Schwarzwolf: timber wolf, male, Zoo-1, deceased. Remembered by his widow Anna Nachtberg (remarried after his death, as wolves tend to do), his very young daughter Michaela (who has never seen him), and of course the ZPD, especially by Judy. Promoted posthumously for the purpose of increasing his widow's pension benefits.

\-----

Eric Coney: European rabbit, male, composer for Thorium. Eric is talented, but not successful enough to make music his day job. Like many young men, he is eager for a hook-up but not interested in a relationship. His primary focus is still his music. 

relationships:

Judy: Eric has abandoned all hopes of getting Judy into the sack, particularly upon knowing about her relationship with Nick.

Nick: Eric wishes Nick wouldn't be so jealous and resentful of something that never happened and never will.

Mike: Bros before does, always and forever.

\-----

Max Eisenberg: timber wolf, male, guitarist working with Thorium and other bands. Almost never smiles. His favorite color is infra-red. He puts hot sauce on everything, including breakfast cereal. 

relationships:

Wacki Terremoto: Max and Wacki are fully out of the closet, much to the non-surprise of anyone who knows them.

Mike and L.E.: the playful hostility continues.

\-----

Lindsey Ellen 'L.E.' Eldridge: hare, female, bike courier. 

relationships:

Mike Turgenev: She is madly in love with Mike Turgenev and doesn't hide it at all. They now live together in the large studio space shared with Eric.

Max and Wacki: wants to hurt them, but in a playful and friendly manner.

Judy: best buds forever.

Nick: mostly cool.

\-----

Bonnie and Stu Hopps [c]: Bonnie is very much a 'traditional' wife-and-mother. She is much more conservative than Stu, and a world class worrier. As matriarch and patriarch of the Hopps warren, they openly support Judy in all of her endeavors, including her relationship with Nick. Bonnie still wants grandchildren, of course, but knows full well that Judy will not ever marry a lagomorph, and Violet probably will never marry at all. Bonnie accepts Judy's relationship with Nick, as long as she doesn't have to think too much about it.

Stu Hopps foresees the inevitability of Judy's and Nick's marriage, and really is okay with it.

\-----

Violet Hopps [c1]: Judy's sister. Judy are still close confidantes, as sisters are, but are nonetheless still very cautious about discussing issues within Violet's field of expertise, such as mental health and relationship issues.

Violet is very insecure about relationships, which is one of the reasons she became a behaviorist ('healer, heal yourself'). 

\-----

Doug Ramses [c]: Chemist, sniper, world-class arch-villain, location unknown but presumed to be not far from a sack of Swinton's cash.

relationships:

ZPD, Judy Hopps in particular: deep resentment.

Swinton: couldn't care less about her.

\-----

Jane Swinton [c3]: pig, female. Still a member of the Zootopia City Council, still has ambitions of power, still a conniving witch.

relationships:

Bogo and the ZPD in general: deep resentment.

Doug Ramses: wants his head on a pike.

Zootopia's populace at large: sees them only as 'useful idiots.'

\-----

Joachim 'Wacki' Terremoto: black panther, male, drummer for whomever will pay him.

relationships:

Max Eisenberg: Max and Wacki are fully out of the closet, much to the non-surprise of anyone who knows them.

Mike and L.E.: the playful hostility continues.

\-----

Mike Turgenev: Bengal tiger, male, musician primarily associated with Thorium.

relationships:

L.E.: in love, currently trying to figure out how they can get married without upsetting his parents, her parents, and the general balance of the cosmic forces.

Judy and Nick: accepts them as friends, mostly via L.E.'s relationship with Judy.

Eric: best buds forever.

Max and Wacki: wants to kill them, but in a playful and friendly manner.

\-----

Vance Vickers: North American mountain lion, male, predator supremacist, former leader of a gang. Currently and permanently imprisoned.

\-----

[c] canon character from the original film  
[c1] character by Joe Carmagna, Zootopia Comics Collection  
[c3] character designed by Disney but abandoned before production of the first film; name expanded by the author

all other characters, and canon character expansions, are entirely by Wil Rowan


	6. an explanation of the pseudo-screenplay format

**Summary for the Chapter:**

> This first post describes the formatting of this work, which is similar to that of a screenplay or script. Snippets of dialogue and action from a previous work are used as examples.
> 
> This isn't the first chapter; it is a preface. The story itself begins with chapter 1 of this AO3 index.

> Zootopia: Between the Times [series number]  
>  This Is the Series Title [chapter number]  
>  the Chapter Title Goes Here

The title and episode number are centered on the page. The preface and cast are in sans-serif. The cast is listed in order of appearance.

> \-----
> 
> [episode 4 act 1]  
>  [bookmark 4-1-1]  
>  [// Thursday]
> 
> INT. Judy's apartment, middle of the night: the moonlight casts some light into the apartment. JUDY is curled on the bed, asleep, still wearing her clothes from the end of episode 3. NICK is sleeping, curled on the floor.
> 
> \-----

Episode and act notation, and other timeline indicators, are in [square brackets.] Scene direction and action are in fixed width from the left edge of the margin. Separation and containment of frames is indicated by five centered dashes or a similar short line.

'Bookmarks' are given to reference a particular frame or series of frames. Single-line notes referring to a timeline are contained by [// two slashes within square brackets] and are not to be included in the artwork.

> \-----
> 
> [caption: noon]
> 
> JUDY (terrified):  
>  {eep}
> 
> NICK (sitting upright):  
>  What!
> 
> \-----

Captions are indicated by [square brackets]. Inclusion of captions may not be necessary if the scene transition or location can be shown directly by the art.

> \-----
> 
> JUDY (shouting at the top of her lungs):  
>  Aaagh you're all **IDIOTS**
> 
> \-----

Dialogue is from the first tab-stop. Descriptions of the character's expression or action may be included (in parentheses). Dialogue that is spoken softly but not sotto voce, or is quiet or muffled, may be indicated by a smaller font size. Dialogue that is shouted may be indicated by a large and/or bold font. Dialogue with emphasis may be underlined.

In plain-text versions of this work:

whispered or sotto-voce dialogue may be between {curly brackets}.

shouted or otherwise loud dialogue may be between *a pair of asterisks!*

> \-----
> 
> SCHWARZWOLF:  
>  How was training?
> 
> JUDY (exhausted expression):  
>  Rougher than I expected.
> 
> SCHWARZWOLF:  
>  She ripped you a new one?
> 
> JUDY:  
>  Don't ask.
> 
> \-----

Back-and-forth dialogue between speakers have their speech bubbles joined by ligatures.

> \-----
> 
> JUDY answers her phone in video-conference mode, holding it before her.
> 
> JUDY (with a forced smile):  
>  Hi mom, dad. 
> 
> PHONE:  
>  Hey there Dude! How's it going?  
>  \--  
>  Oh I can't remember when we were last in the city. Can you, Stu? 
> 
> \-----

Dialogue involving two separate voices from the same direction, such as a party line call on a phone, is shown by separating the two voices with two dashes at the second tab-stop. This is to be illustrated by two separate and sequential speech bubbles from the same source or direction.

> \-----
> 
> /* OPTIONAL FRAME BELOW:
> 
> DUTCH ANGLE, FOCUS ON JUDY'S face as seen by the camera: her right hand is clenched into a fist, the middle finger deep into one of her nostrils. Her eyes are crossed, her tongue in a blep that would otherwise be very cute. BOGO is seen in the distance, arms crossed, an expression of furious disapproval.
> 
> */ END OPTIONAL FRAME
> 
> \-----

Optional frames, to be included at the discretion of the author and artist, are indicated between 

/* SLASHES AND ASTERISKS SIMILAR TO 

SCENE: setting, actions and other who-what-wheres.

CHARACTER (description of action, appearance or mood):  
Dialogue, thus and so forth.

*/ MULTIPLE LINE COMMENT TEXT IN CODE 

and may include more than one frame.

> \-----
> 
> BOGO to himself:   
>  I will not have another misfit turning our Department upside down.
> 
> If I didn't know better, I'd think Hopps had something to do with this.
> 
> \-----

Lines of dialogue separated by a line break are to be separated by a line break within the same speech bubble.

> \-----
> 
> NICK stares directly at JUDY as he licks his chopsticks.
> 
> NICK (grinning, almost leering):  
>  You're on, Fluff. Lunch will be on you soon enough.
> 
> [// in Asian cultures, licking one's chopsticks in direct sight of another diner is considered to be an overtly lascivious gesture.]
> 
> \-----

Notes may be included for the purpose of giving greater detail to a scene or dialogue. These notes are written in [// square brackets preceded by two slashes] and are not to be included in the artwork.

> \-----
> 
> JUDY looks at her dish. 
> 
> JUDY:  
>  We didn't cover a lot of that in high school. 
> 
> NICK nods in approval. 
> 
> NICK:  
>  But you are good at math.
> 
> JUDY:  
>  Oh that comes naturally.
> 
> \-----

Multiple lines of action or direction may be included in the same frame, for the purpose of fully describing the flow of action and dialogue. However, they are still within the same frame and are to be illustrated as occurring at the same time.

> \-----
> 
> SCHWARZWOLF:  
>  Next time you'll get a citation!
> 
> (narrative):  
>  The reality of police work is that it's mostly dull. These days I'm assigned to patrol Buxtown with Corporal Schwarzwolf.
> 
> \-----

Expositional narratives are presented to the reader as isolated text not spoken by any character, unless the direction of the origin is indicated.

[// script format 2021 02 11 wrg]


End file.
